{"id":99132,"date":"2018-12-04T17:59:30","date_gmt":"2018-12-04T16:59:30","guid":{"rendered":"https:\/\/www.cined.com\/?p=99132"},"modified":"2018-12-05T16:19:28","modified_gmt":"2018-12-05T15:19:28","slug":"hollywood-movie-shot-fullframe-mirrorless-camera","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/es\/hollywood-movie-shot-fullframe-mirrorless-camera\/","title":{"rendered":"Esta pel\u00edcula de Hollywood fue filmada \u00edntegramente con una c\u00e1mara mirrorless Sony a7S II"},"content":{"rendered":"<p><strong>\u00bfCrear una pel\u00edcula de terror de Hollywood sin temer los horrores de una configuraci\u00f3n de c\u00e1mara inusual para este tipo de producciones? Los creadores de &#8220;The Possession Of Hannah Grace&#8221; tuvieron el valor de utilizar una c\u00e1mara mirrorless full frame Sony a7S II (muchas de ellas) para su pel\u00edcula. \u00a1Es la primera vez que esto sucede en Hollywood!<\/strong><\/p>\n<div id=\"attachment_98904\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-featured.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98904\" class=\"wp-image-98904 size-large\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-featured-640x360.jpg\" alt=\"Hollywood\" width=\"640\" height=\"360\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98904\" class=\"wp-caption-text\">Cr\u00e9dito de la imagen de BG: izayah ramos | <a href=\"https:\/\/unsplash.com\/photos\/cR05i3WgRlQ\">unsplash.com<\/a><\/p><\/div>\n<p>Si no eres fan de las pel\u00edculas de terror s\u00faper horrorosas (yo no lo soy&#8230; \u00a1para nada!), entonces la pel\u00edcula anunciada en esta publicaci\u00f3n, &#8220;The Possession Of Hannah Grace&#8221;, no es para ti. Pero, dado que toda la pel\u00edcula ha sido rodada con una Sony a7S II -dem\u00e1s de lentes elegantes y una cantidad de accesorios-, este podr\u00eda ser un desarrollo interesante para futuras producciones.<\/p>\n<h2>Hollywood vs. las c\u00e1maras peque\u00f1as<\/h2>\n<p>La Sony A7S II es una c\u00e1mara muy capaz. Es peque\u00f1a, pero tiene un sensor full frame 4K, ofrece Slog 2 y 3 y posee un incre\u00edble rendimiento con poca luz. Y es relativamente barata en comparaci\u00f3n con muchas otras c\u00e1maras digitales de cine. Combin\u00e1ndola con los lentes anam\u00f3rficos Vantage Hawk 65, el equipo pudo realizar tomas incre\u00edbles con un presupuesto ajustado. Mira el tr\u00e1iler a continuaci\u00f3n, pero te aviso: da mucho miedo y definitivamente no es para cualquiera:<\/p>\n<p><iframe title=\"THE POSSESSION OF HANNAH GRACE - Official Trailer (HD)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/RHAgri92JP8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>No olvidemos que se trata de una pel\u00edcula de Hollywood. As\u00ed que, si bien el equipo trabaj\u00f3 con un presupuesto un tanto ajustado, la configuraci\u00f3n real de la c\u00e1mara no parece ser tan \u201cbajo presupuesto\u201d. Esto se debe principalmente a los gigantescos lentes anam\u00f3rficos Hawk 65 y una variedad de monitores externos, transmisores inal\u00e1mbricos y controles de lentes.<\/p>\n<div id=\"attachment_98915\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-03.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98915\" class=\"wp-image-98915 size-large\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-640x326.jpg\" alt=\"Hollywood\" width=\"640\" height=\"326\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-640x326.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-300x153.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-768x392.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-1536x783.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-451x230.jpg 451w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98915\" class=\"wp-caption-text\">\u00bfPuedes encontrar a la Sony a7S II?<\/p><\/div>\n<p>Seg\u00fan los realizadores, la combinaci\u00f3n de la c\u00e1mara con los lentes anam\u00f3rficos fue clave para el look final de la pel\u00edcula. Usar ese estilo anam\u00f3rfico ayuda al look cinematogr\u00e1fico.<\/p>\n<p>Seg\u00fan el Director de Fotograf\u00eda Lennert Hillege, cosas como<\/p>\n<blockquote><p>el rango din\u00e1mico, la ciencia de color, el rendimiento de los tonos piel, el detalle en las sombras, el gradiente natural en las luces altas y la capacidad de grabar y extraer en formato Sony LOG fueron aspectos cr\u00edticos a considerar.<\/p><\/blockquote>\n<p>El mayor inconveniente de las capacidades de la a7S II fue la falta de grabaci\u00f3n en 10 bits. Solo tiene 8 bits, pero Hillege lo explica as\u00ed:<\/p>\n<blockquote><p>Si tu imagen no est\u00e1 muy sucia, y te ajustas a ciertas reglas en cuanto a exposici\u00f3n y color, puedes obtener im\u00e1genes realmente hermosas y monumentales con ella.<\/p><\/blockquote>\n<p>Dado que la c\u00e1mara en s\u00ed no es tan costosa, el equipo pudo evitar el intercambio de lentes usando una c\u00e1mara <em>por cada<\/em> lente. Vantage ayud\u00f3 con la adaptaci\u00f3n de los lentes PL Hawk 65 al soporte E de la a7S II. Al momento de la producci\u00f3n hab\u00eda tres distancias focales disponibles: 40mm, 60mm y 95mm, todas con un factor de compresi\u00f3n de 1.3x, dando como resultado una imagen de pantalla ancha de 2.40:1 cuando se utilizan con un sensor de 16:9.<\/p>\n<p><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-02.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-98912\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-640x299.jpg\" alt=\"Hollywood\" width=\"640\" height=\"299\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-640x299.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-300x140.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-768x358.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-1536x717.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-493x230.jpg 493w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\nCon el combo Sony\/Vantage, el equipo pudo armar una configuraci\u00f3n relativamente peque\u00f1a y liviana con un rendimiento muy capaz en condiciones de poca luz, lo que parece adecuado para una pel\u00edcula de terror oscura y misteriosa como esta.<\/p>\n<h2>\u00bfC\u00e1maras de cine adecuadas?<\/h2>\n<p>Por lo general, usar\u00edas algo como una  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1389652-REG\/arri_k0_0019228_alexa_lf_basic_camera.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">ARRI ALEXA LF<\/a> para una producci\u00f3n de Hollywood full-frame como esta, \u00bfverdad? Pues bien, dado que esta pel\u00edcula se film\u00f3 con un presupuesto limitado (lo que se aplica al dinero <em>y tambi\u00e9n<\/em> al tiempo), la a7S II parece ser una opci\u00f3n decente, especialmente si abre la posibilidad de tener una c\u00e1mara conectada a cada lente, lo que evita los tiempos muertos.<\/p>\n<div id=\"attachment_98901\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98901\" class=\"size-large wp-image-98901\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-640x285.jpg\" alt=\"Hollywood\" width=\"640\" height=\"285\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-640x285.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-300x134.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-768x342.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-1536x685.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-516x230.jpg 516w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98901\" class=\"wp-caption-text\">ARRI ALEXA LF vs. Sony a7S II<\/p><\/div>\n<p>Seguro, la Alexa ofrece una calidad de imagen superior, pero seg\u00fan el DF Lennert Hillege ese no es el punto.<\/p>\n<blockquote><p>Si trabajas con un director que quiere filmar anam\u00f3rfico, y trabajamos con un productor que realmente quiere cambiar por completo el enfoque sobre c\u00f3mo se filma una pel\u00edcula de cine, la perfecci\u00f3n no es la meta m\u00e1s interesante. Es la forma en la que cuentas la historia y si esa forma funciona. Es la culminaci\u00f3n de muchas cosas lo que le da un look determinado. Todas estas nuevas ideas y formas de trabajar son interesantes para pensar, investigar y poner en acci\u00f3n en un gui\u00f3n.<\/p><\/blockquote>\n<p>\u00bfRecuerdas la pel\u00edcula &#8220;<a href=\"https:\/\/www.imdb.com\/title\/tt0289043\/fullcredits?ref_=ttspec_sa_1\">28 D\u00edas Despu\u00e9s<\/a>&#8221; de Dannie Boyle del 2002? El DF Anthony Dod Mantle la grab\u00f3 en una Canon XL-1S, que en realidad es una c\u00e1mara miniDV que graba en resoluci\u00f3n est\u00e1ndar SD. \u00bfEso la convierte en una mala pel\u00edcula? No, es una gran pel\u00edcula, porque hacer una pel\u00edcula no tiene que ver con la c\u00e1mara sino con la historia.<\/p>\n<div id=\"attachment_98918\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98918\" class=\"wp-image-98918 size-large\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-640x270.jpg\" alt=\"Hollywood\" width=\"640\" height=\"270\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-640x270.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-300x127.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-768x324.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-545x230.jpg 545w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1.jpg 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98918\" class=\"wp-caption-text\">C\u00e1mara Canon XL-S1 &#8211; en resoluci\u00f3n SD :)<span style=\"font-size: 16px\">\u00a0<\/span><\/p><\/div>\n<h2>Lentes vs. C\u00e1maras<\/h2>\n<p>Estamos en tiempos modernos y las c\u00e1maras actuales ofrecen un alto rendimiento comparadas con modelos m\u00e1s antiguos, como la mencionada Canon XL-S1. Tal vez lo importante sea todo lo dem\u00e1s <em>excepto<\/em> la c\u00e1mara. Como lo expresa Hillege, el Director de Fotograf\u00eda de &#8220;The Possession Of Hannah Grace&#8221;:<\/p>\n<blockquote><p>Normalmente, el 70 por ciento de tu cuadro se encuentra fuera de foco. Puede que est\u00e9s mirando el 30 por ciento que est\u00e1 enfocado, pero el fondo posee cierta magnificencia, y los lentes Hawk est\u00e1n dise\u00f1ados con esto en mente.<\/p><\/blockquote>\n<p>Esta pel\u00edcula no ser\u00eda tan cinematogr\u00e1fica si no utilizase estos lentes anam\u00f3rficos, estoy seguro. Dado que en la actualidad las c\u00e1maras son dispositivos tan capaces, cada vez son menos importantes. Lo m\u00e1s importante es el estilo y el look \u2013 y los lentes (de cine) est\u00e1n dise\u00f1ados para estas caracter\u00edsticas.<\/p>\n<p><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-01.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-98909\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-640x374.jpg\" alt=\"Hollywood\" width=\"640\" height=\"374\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-640x374.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-300x175.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-768x449.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-1536x898.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-394x230.jpg 394w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8220;The Possession Of Hannah Grace\u201d fue presentada el 30 de noviembre.<\/p>\n<p>Enlaces: <a href=\"https:\/\/www.vantagefilm.com\/en\/news\/hawk65-and-sony-a7s-deliver-epic-images-on-a-budget-10863\">Vantage Film<\/a>\u00a0| <a href=\"https:\/\/www.sony.com\/en_us\/SCA\/company-news\/press-releases\/sony-electronics\/2018\/sonys-a7s-ii-and-vantages-hawk-65-deliver-stunning-anamorphic-images-for-new-hollywood-thriller-the-possession-of-hannah-grace.html\">Sony.com<\/a>\u00a0| Vista por primera vez en <a href=\"https:\/\/petapixel.com\/2018\/12\/03\/this-is-the-first-hollywood-movie-shot-on-a-full-frame-mirrorless-camera\/\">Petapixel.com<\/a><\/p>\n<p><strong>\u00bfQu\u00e9 piensas? \u00bfEs excesivo utilizar 5 c\u00e1maras Sony en lugar de una sola c\u00e1mara de cine &#8220;adecuada&#8221;? \u00bfO lo que estamos presenciando es el futuro del cine? \u00a1Dinos lo que piensas en los comentarios debajo!<\/strong><\/p>\n<99132-main-buylinks\/>","protected":false,"clean_render":"<p><strong>\u00bfCrear una pel\u00edcula de terror de Hollywood sin temer los horrores de una configuraci\u00f3n de c\u00e1mara inusual para este tipo de producciones? Los creadores de &#8220;The Possession Of Hannah Grace&#8221; tuvieron el valor de utilizar una c\u00e1mara mirrorless full frame Sony a7S II (muchas de ellas) para su pel\u00edcula. \u00a1Es la primera vez que esto sucede en Hollywood!<\/strong><\/p>\n<div id=\"attachment_98904\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-featured.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98904\" class=\"wp-image-98904 size-large\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-featured-640x360.jpg\" alt=\"Hollywood\" width=\"640\" height=\"360\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-640x360.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-300x169.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-768x432.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-1536x864.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-340x190.jpg 340w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-409x230.jpg 409w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured-1600x900.jpg 1600w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-featured.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98904\" class=\"wp-caption-text\">Cr\u00e9dito de la imagen de BG: izayah ramos | <a href=\"https:\/\/unsplash.com\/photos\/cR05i3WgRlQ\">unsplash.com<\/a><\/p><\/div>\n<p>Si no eres fan de las pel\u00edculas de terror s\u00faper horrorosas (yo no lo soy&#8230; \u00a1para nada!), entonces la pel\u00edcula anunciada en esta publicaci\u00f3n, &#8220;The Possession Of Hannah Grace&#8221;, no es para ti. Pero, dado que toda la pel\u00edcula ha sido rodada con una Sony a7S II -dem\u00e1s de lentes elegantes y una cantidad de accesorios-, este podr\u00eda ser un desarrollo interesante para futuras producciones.<\/p>\n<h2>Hollywood vs. las c\u00e1maras peque\u00f1as<\/h2>\n<p>La Sony A7S II es una c\u00e1mara muy capaz. Es peque\u00f1a, pero tiene un sensor full frame 4K, ofrece Slog 2 y 3 y posee un incre\u00edble rendimiento con poca luz. Y es relativamente barata en comparaci\u00f3n con muchas otras c\u00e1maras digitales de cine. Combin\u00e1ndola con los lentes anam\u00f3rficos Vantage Hawk 65, el equipo pudo realizar tomas incre\u00edbles con un presupuesto ajustado. Mira el tr\u00e1iler a continuaci\u00f3n, pero te aviso: da mucho miedo y definitivamente no es para cualquiera:<\/p>\n<p><iframe title=\"THE POSSESSION OF HANNAH GRACE - Official Trailer (HD)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/RHAgri92JP8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>No olvidemos que se trata de una pel\u00edcula de Hollywood. As\u00ed que, si bien el equipo trabaj\u00f3 con un presupuesto un tanto ajustado, la configuraci\u00f3n real de la c\u00e1mara no parece ser tan \u201cbajo presupuesto\u201d. Esto se debe principalmente a los gigantescos lentes anam\u00f3rficos Hawk 65 y una variedad de monitores externos, transmisores inal\u00e1mbricos y controles de lentes.<\/p>\n<div id=\"attachment_98915\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-03.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98915\" class=\"wp-image-98915 size-large\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-640x326.jpg\" alt=\"Hollywood\" width=\"640\" height=\"326\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-640x326.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-300x153.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-768x392.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-1536x783.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03-451x230.jpg 451w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-03.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98915\" class=\"wp-caption-text\">\u00bfPuedes encontrar a la Sony a7S II?<\/p><\/div>\n<p>Seg\u00fan los realizadores, la combinaci\u00f3n de la c\u00e1mara con los lentes anam\u00f3rficos fue clave para el look final de la pel\u00edcula. Usar ese estilo anam\u00f3rfico ayuda al look cinematogr\u00e1fico.<\/p>\n<p>Seg\u00fan el Director de Fotograf\u00eda Lennert Hillege, cosas como<\/p>\n<blockquote><p>el rango din\u00e1mico, la ciencia de color, el rendimiento de los tonos piel, el detalle en las sombras, el gradiente natural en las luces altas y la capacidad de grabar y extraer en formato Sony LOG fueron aspectos cr\u00edticos a considerar.<\/p><\/blockquote>\n<p>El mayor inconveniente de las capacidades de la a7S II fue la falta de grabaci\u00f3n en 10 bits. Solo tiene 8 bits, pero Hillege lo explica as\u00ed:<\/p>\n<blockquote><p>Si tu imagen no est\u00e1 muy sucia, y te ajustas a ciertas reglas en cuanto a exposici\u00f3n y color, puedes obtener im\u00e1genes realmente hermosas y monumentales con ella.<\/p><\/blockquote>\n<p>Dado que la c\u00e1mara en s\u00ed no es tan costosa, el equipo pudo evitar el intercambio de lentes usando una c\u00e1mara <em>por cada<\/em> lente. Vantage ayud\u00f3 con la adaptaci\u00f3n de los lentes PL Hawk 65 al soporte E de la a7S II. Al momento de la producci\u00f3n hab\u00eda tres distancias focales disponibles: 40mm, 60mm y 95mm, todas con un factor de compresi\u00f3n de 1.3x, dando como resultado una imagen de pantalla ancha de 2.40:1 cuando se utilizan con un sensor de 16:9.<\/p>\n<p><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-02.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-98912\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-640x299.jpg\" alt=\"Hollywood\" width=\"640\" height=\"299\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-640x299.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-300x140.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-768x358.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-1536x717.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02-493x230.jpg 493w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-02.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><br \/>\nCon el combo Sony\/Vantage, el equipo pudo armar una configuraci\u00f3n relativamente peque\u00f1a y liviana con un rendimiento muy capaz en condiciones de poca luz, lo que parece adecuado para una pel\u00edcula de terror oscura y misteriosa como esta.<\/p>\n<h2>\u00bfC\u00e1maras de cine adecuadas?<\/h2>\n<p>Por lo general, usar\u00edas algo como una  <a href=\"https:\/\/www.bhphotovideo.com\/c\/product\/1389652-REG\/arri_k0_0019228_alexa_lf_basic_camera.html\/BI\/7953\/KBID\/8488\/\" class=\"content-keyword-linked\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">ARRI ALEXA LF<\/a> para una producci\u00f3n de Hollywood full-frame como esta, \u00bfverdad? Pues bien, dado que esta pel\u00edcula se film\u00f3 con un presupuesto limitado (lo que se aplica al dinero <em>y tambi\u00e9n<\/em> al tiempo), la a7S II parece ser una opci\u00f3n decente, especialmente si abre la posibilidad de tener una c\u00e1mara conectada a cada lente, lo que evita los tiempos muertos.<\/p>\n<div id=\"attachment_98901\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98901\" class=\"size-large wp-image-98901\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-640x285.jpg\" alt=\"Hollywood\" width=\"640\" height=\"285\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-640x285.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-300x134.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-768x342.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-1536x685.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony-516x230.jpg 516w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-arri-vs-sony.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98901\" class=\"wp-caption-text\">ARRI ALEXA LF vs. Sony a7S II<\/p><\/div>\n<p>Seguro, la Alexa ofrece una calidad de imagen superior, pero seg\u00fan el DF Lennert Hillege ese no es el punto.<\/p>\n<blockquote><p>Si trabajas con un director que quiere filmar anam\u00f3rfico, y trabajamos con un productor que realmente quiere cambiar por completo el enfoque sobre c\u00f3mo se filma una pel\u00edcula de cine, la perfecci\u00f3n no es la meta m\u00e1s interesante. Es la forma en la que cuentas la historia y si esa forma funciona. Es la culminaci\u00f3n de muchas cosas lo que le da un look determinado. Todas estas nuevas ideas y formas de trabajar son interesantes para pensar, investigar y poner en acci\u00f3n en un gui\u00f3n.<\/p><\/blockquote>\n<p>\u00bfRecuerdas la pel\u00edcula &#8220;<a href=\"https:\/\/www.imdb.com\/title\/tt0289043\/fullcredits?ref_=ttspec_sa_1\">28 D\u00edas Despu\u00e9s<\/a>&#8221; de Dannie Boyle del 2002? El DF Anthony Dod Mantle la grab\u00f3 en una Canon XL-1S, que en realidad es una c\u00e1mara miniDV que graba en resoluci\u00f3n est\u00e1ndar SD. \u00bfEso la convierte en una mala pel\u00edcula? No, es una gran pel\u00edcula, porque hacer una pel\u00edcula no tiene que ver con la c\u00e1mara sino con la historia.<\/p>\n<div id=\"attachment_98918\"  class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-98918\" class=\"wp-image-98918 size-large\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-640x270.jpg\" alt=\"Hollywood\" width=\"640\" height=\"270\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-640x270.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-300x127.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-768x324.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1-545x230.jpg 545w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-canonxls1.jpg 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-98918\" class=\"wp-caption-text\">C\u00e1mara Canon XL-S1 &#8211; en resoluci\u00f3n SD :)<span >\u00a0<\/span><\/p><\/div>\n<h2>Lentes vs. C\u00e1maras<\/h2>\n<p>Estamos en tiempos modernos y las c\u00e1maras actuales ofrecen un alto rendimiento comparadas con modelos m\u00e1s antiguos, como la mencionada Canon XL-S1. Tal vez lo importante sea todo lo dem\u00e1s <em>excepto<\/em> la c\u00e1mara. Como lo expresa Hillege, el Director de Fotograf\u00eda de &#8220;The Possession Of Hannah Grace&#8221;:<\/p>\n<blockquote><p>Normalmente, el 70 por ciento de tu cuadro se encuentra fuera de foco. Puede que est\u00e9s mirando el 30 por ciento que est\u00e1 enfocado, pero el fondo posee cierta magnificencia, y los lentes Hawk est\u00e1n dise\u00f1ados con esto en mente.<\/p><\/blockquote>\n<p>Esta pel\u00edcula no ser\u00eda tan cinematogr\u00e1fica si no utilizase estos lentes anam\u00f3rficos, estoy seguro. Dado que en la actualidad las c\u00e1maras son dispositivos tan capaces, cada vez son menos importantes. Lo m\u00e1s importante es el estilo y el look \u2013 y los lentes (de cine) est\u00e1n dise\u00f1ados para estas caracter\u00edsticas.<\/p>\n<p><a href=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-01.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-98909\" src=\"https:\/\/www.cined.com\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-640x374.jpg\" alt=\"Hollywood\" width=\"640\" height=\"374\" srcset=\"https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-640x374.jpg 640w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-300x175.jpg 300w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-768x449.jpg 768w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-1536x898.jpg 1536w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01-394x230.jpg 394w, https:\/\/staging.cined.dev\/content\/uploads\/2018\/12\/Hollywood-_-camera-01.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>&#8220;The Possession Of Hannah Grace\u201d fue presentada el 30 de noviembre.<\/p>\n<p>Enlaces: <a href=\"https:\/\/www.vantagefilm.com\/en\/news\/hawk65-and-sony-a7s-deliver-epic-images-on-a-budget-10863\">Vantage Film<\/a>\u00a0| <a href=\"https:\/\/www.sony.com\/en_us\/SCA\/company-news\/press-releases\/sony-electronics\/2018\/sonys-a7s-ii-and-vantages-hawk-65-deliver-stunning-anamorphic-images-for-new-hollywood-thriller-the-possession-of-hannah-grace.html\">Sony.com<\/a>\u00a0| Vista por primera vez en <a href=\"https:\/\/petapixel.com\/2018\/12\/03\/this-is-the-first-hollywood-movie-shot-on-a-full-frame-mirrorless-camera\/\">Petapixel.com<\/a><\/p>\n<p><strong>\u00bfQu\u00e9 piensas? \u00bfEs excesivo utilizar 5 c\u00e1maras Sony en lugar de una sola c\u00e1mara de cine &#8220;adecuada&#8221;? \u00bfO lo que estamos presenciando es el futuro del cine? \u00a1Dinos lo que piensas en los comentarios debajo!<\/strong><\/p>\n<99132-main-buylinks\/>"},"excerpt":{"rendered":"<p>\u00bfCrear una pel\u00edcula de terror de Hollywood sin temer los horrores de una configuraci\u00f3n de c\u00e1mara inusual para este tipo de producciones? Los creadores de &#8220;The Possession Of Hannah Grace&#8221; tuvieron el valor de utilizar una c\u00e1mara mirrorless full frame Sony a7S II (muchas de ellas) para su pel\u00edcula. \u00a1Es la primera vez que esto sucede en Hollywood! Si no eres fan de las pel\u00edculas de terror s\u00faper horrorosas (yo no lo soy&#8230; \u00a1para nada!), entonces la pel\u00edcula anunciada en esta publicaci\u00f3n, &#8220;The Possession Of Hannah Grace&#8221;, no es para ti. Pero, dado que toda la pel\u00edcula ha sido rodada con una Sony a7S II -dem\u00e1s de lentes elegantes y [&hellip;]<\/p>\n","protected":false},"author":10704,"featured_media":98906,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[{"id":42280,"name":"Industria","link":"https:\/\/staging.cined.dev\/es\/noticias\/industria\/","slug":"industria"},{"id":42290,"name":"Noticias","link":"https:\/\/staging.cined.dev\/es\/noticias\/","slug":"noticias"},{"id":42293,"name":"C\u00e1maras","link":"https:\/\/staging.cined.dev\/es\/noticias\/camaras\/","slug":"camaras"},{"id":42296,"name":"Lentes","link":"https:\/\/staging.cined.dev\/es\/noticias\/lentes\/","slug":"lentes"}],"tags":[28339,28340,28336,24956,28335,28338,24668,27644,28337,24959,26882,24837,24499],"tag_label":[],"brand":[],"class_list":["post-99132","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-industria","category-noticias","category-camaras","category-lentes","tag-vantage-hawk-es","tag-terror","tag-hawk-65-es","tag-horror-es","tag-feature-film-es","tag-movie-es","tag-sony-a7s-ii-es","tag-lowlight-es","tag-hollywood-es","tag-pelicula","tag-anamorfico","tag-anamorphic-es","tag-cine-es"],"yoast_head":"<!-- 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